*The Art World Weighs In On Conspiracy Theories*


*A museum exhibition reviewBy Cat McGuireNovember 5, 2018*

*http://www.catmcguire.com/art/The-Art-World-Weighs-In-On-Conspiracy-Theories_05Nov2018.html
<http://www.catmcguire.com/art/The-Art-World-Weighs-In-On-Conspiracy-Theories_05Nov2018.html>*

[image: Met exhibition branding]

*Overview*

An exhibit called *Everything Is Connected: Art and Conspiracy
<https://metmuseum.org/exhibitions/listings/2018/everything-is-connected-art-and-conspiracy>*
is
currently on display at The Metropolitan Museum of Art in New York at The
Met Breuer. According to the curator, this apparently is the first time the
art world has mounted a significant exhibition on the topic of conspiracies
(even though much of the work presented is in The Met’s own collection).

The Met is arguably *the *high cathedral of culture in America—*The New
York Times *of the art world if you will. Curious to hear their official
perspective, on October 30, I got a ticket for one of the very few
Exhibition Tours the show offered.

The one-hour walking lecture was led by one of the two curators, Douglas
Eklund, Director of Photographs, who started work on the exhibit in 2010.
He seemed proud of his prescience. Who knew eight years ago what a topical
subject conspiracy theories would become?

That Eklund had been employed by The Met since the ‘90s tells me that this
controversial subject had not been assigned willy-nilly. Eklund’s decisions
surely had the full imprimatur of The Met. As such, for the purposes of my
review of the show, fair or not, henceforth for me Eklund represents The
Met incarnate.

Eklund was quite pleased by the sold-out crowd of 25 people, and several
times during the tour remarked how no one was wandering away as tour goers
often do. Almost everyone stayed with him to the end, indicating a strong
degree of interest.

The exhibit features 30 artists and is divided into two distinct parts:
 theories that had proven to be largely true versus the Rabbit Hole (my
capitalization, the show’s repeated use). The following explication from
the entrance wall text does a good job of explaining the exhibit’s
bifurcation:

*The exhibition traces the simultaneous development of two kinds of art
about conspiracy. Works based in historical research and investigative
reporting open the show’s first half. The artists consider the factual
nature of these works to be paramount. They uncover hidden layers of deceit
beneath the bureaucratic complexity and often controlled media of postwar
culture, hewing strictly to the public record to expose schemes such as the
shell corporations of New York real estate investors and vast,
interconnected networks encompassing politicians, businessmen, and arms
dealers.*

*Works in the exhibition’s second half plunge down the rabbit hole, where
facts and fantasy freely intermingle. No less thoroughly researched than
those in the opening galleries, these works often aim to capture the
interior ways in which people explain the world and their place in it with
only partial information. Diving headlong into the fever dream of the
disaffected, these artists create fantastical works that nevertheless
unearth uncomfortable truths in an age of information overload and weakened
trust in institutions.*

The 3-minute *video
<https://metmuseum.org/exhibitions/listings/2018/everything-is-connected-art-and-conspiracy>*
on
the exhibit’s web page is worth watching both to see some of the art and to
hear the curator’s spiel.

And now, on to the tour.

*SNIP>*

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